Scene 3. Page 513.
Kath. Why then the beef, and let the mustard rest, &c.
This part of the dialogue was in all probability suggested by the following whimsical story in Wits, fittes and fancies, 1595, 4to:—"A clowne having surfeited of beefe, and being therewith extreame sicke, vow'd never whiles he liv'd to eat beefe more, if it pleas'd God he might escape for that once: Shortlie after having his perfect health again, he would needs have eaten beefe, and his sister putting him in mind of his vow, hee answered: True (sister) not without mustard (good L.) not without mustard." This is not the only use that Shakespeare has made of this curious book, which was, in part, translated from a Spanish work, entitled La floresta Spagnola, by Anthony Copley, who was the author of a poem printed at the end, called Love's owle: In dialogue-wise betweene love and an olde man. Of this poem Copley thus speaks in his dedication: "As for my Loves owle, I am content that Momus turne it to a tennis-ball if he can, and bandy it quite away: namelie, I desire M. Daniel, M. Spencer, and other the Prime Poets of our time, to pardon it with as easie a frowne as they please, for that I give them to understand, that an Universitie Muse never pend it, though humbly devoted thereunto."
Scene 3. Page 514.
Pet. And all my pains is sorted to no proof.
This is explained by Dr. Johnson, "and all my labour has proved nothing." It rather means, "all my labour is adapted to no approof," or "I have taken all this pains without approbation." Approof is used by Shakspeare in this sense, and should be here printed with an apostrophe, 'proof.
Scene 4. Page 529.
Bion. Take your assurance of her cum privilegio ad imprimendum solum.
This is not the only instance in which our poet has borrowed his broad metaphors from the typographical art.